Slightly dadaist, the anxious tone was trying to make a point. The scissors remove the hidden meaning to control political expression. And for Han Okhi, this becomes an act of reclamation from state control. In 1970s South Korea, where state control and misogyny boxed cinema into obedience, she takes the state's scissors and turns it against the system.
Slightly dadaist, the anxious tone was trying to make a point. The scissors remove the hidden meaning to control political expression. And for Han Okhi, this becomes an act of reclamation from state control. In 1970s South Korea, where state control and misogyny boxed cinema into obedience, she takes the state's scissors and turns it against the system.
